Townley and Bradby have an ongoing collaborative practice. They also have two children. Here they discuss how they used an investigative project to allow their art practice and their parental commitments to inform one another, rather than remaining distinct entities. However, this feature does not look at the existing collaboration between the duo, it looks at the working relationship they initiated with a psychologist who specialises in families.
For one evening in October, Edinburgh’s Collective Gallery brought together six artist-led studio groups and galleries for an Artists’ DIY Soapbox.
On reading Mitra Memarzia’s report on diminishing resources in undergraduate courses (‘The future of art education’, a-n Magazine September 2011) I was moved to both endorse the findings and speculate further on the continuing erosion of specialist teacher training in art education.
The continued squeeze on arts funding is throwing up some interesting solutions to supporting artists, whilst raising some serious debates about the future of the profession.
New evidence exposing, quantifying and discussing the likely impact on the visual arts of Arts Council England’s decisions on fifteen previously Regularly Funded Organisations (RFOs) visual arts organisations unsuccessful in their NPO application. It shows that a disproportionate number of artists’ membership and development agencies and practice-based organisations lost core funding, despite ACE’s aim of creating a balanced national portfolio and makes recommendations for sustaining their work as part of a strengthened arts ecology.
In March, AIR – Artists Interaction and Representation – put its weight behind calls for art education to be accessible to all, following a survey in which 95% of its members gave hearty support to the view that art education should be accessible “irrespective of background and financial status”. Here we outline AIR’s campaign and the survey’s key findings to provide evidence for artists to use.
Sonya Dyer reports from the second event of the series, which confronted the difficulties faced by artists from outside the EU coming to work in Britain. Artists Sinead O’Donnell (UK) and Poshya Kakl (Iraq) used Skype to perform an action with the Cardiff audience, bridging the gap between ‘here’ and ‘there’ – the liminal space.
Glad to see that a-n is giving space to debate the activism of Liberate Tate and the relationship between oil, art and sponsorship (a-n Magazine,September 2010).
Jonathan Baxter asks if Liberate Tate’s interventions and protests at Tate’s recent celebration of BP’s sponsorship is representative of growing concern that such sponsorship is compromising the integrity of artists and arts organisations alike.
This guide takes artists through the different stages of finding and creating opportunities to work with young people in a range of settings. It asks: How are artists recruited? What is the best practice? What do young people want from such collaboration? What do artists need from teachers?
Over recent years the discussion around the current state of art teaching, and that of art education, has come to the fore.
Dan Thompson from The Revolutionary Arts Group reveals how artists are once again making use of empty spaces as a means to kick-start both the cultural and economic well being of town centres, and suggests seven steps to enable this area of practice to flourish.
Audience development is core within galleries and arts organisations seeking diverse participation in programmes. Here, we examine how they create accessibility, inclusion and encourage learning and engagement with artists and artworks through activities including workshops, residencies and other projects.
Text-only version of a-n Research paper: Art work in 2007 with live weblinks.
Many artists aspire to permanent studio space, whether self-initiated or rented through a specialist organisation. Here, we explore some current options for artists and makers with the focus not only on developments in London but also elsewhere in England, Wales and Ireland.
Airport art, as I now like to call it, is the major problem facing biennales, biennials and art festivals today.
Emilia Telese’s opening essay offers analysis of the markets for art in the UK highlighting the ‘contradictions and idiosyncrasies’ of the relationship between artists and money,
Guyan Porter talks about the socio-economic dynamics of art markets and deconstructs notions of the art market in the UK.
Debra Savage’s case study-based research into the realities of professional artistic practice.
Close proximity speaker, David Cotterrell gives his view of the pitfalls and advantages of work in the public realm.
Aimed at public sector arts employers, commissioners, consultants and arts trainers, Good practice in paying artists addresses the context for fees and payments for artists’ residencies, workshops and community commissions.
Scott Sherry reports from an artist-initiated festival of publicly-sited artworks.
Rebecca Farley profiles the Starter studios programme and looks at how six of the scheme’s previous artists were able to develop their careers.
For artist Emma Baird Murray, Coed Hills Rural Artspace in South Wales has become a place of inspiration, a space where making art, sustainable living and community involvement go hand in hand. She describes how the organisation works with artists in a rural setting.
A recent forum in Dundee addressed issues surrounding curatorial practice and the relationship between artist and curator. Rob Hunter attended and reports back.
